Though their “’80s Horror” lineup would constitute enough of a Halloween push, the Criterion Channel enter October all guns blazing. The month’s lineup also includes a 19-movie vampire series running from 1931’s Dracula (English and Spanish both) to 2014’s A Girl Walks Home Alone at Night, the collection in-between including Herzog’s Nosferatu, Near Dark, and Let the Right One In. Last year’s “Universal Horror” collection returns, a 17-title Ishirō Honda retrospective has been set, and a few genre titles stand alone: Hush…Hush, Sweet Charlotte, The House of the Devil, and Island of Lost Souls.
Streaming premieres include restorations of Tsai Ming-liang’s Vive L’amour and Ed Lachman’s Lou Reed / John Cale concert film Songs for Drella; October’s Criterion editions are Samuel Fuller’s Forty Guns, Bill Duke’s Deep Cover, Haxan, and My Own Private Idaho. Meanwhile, Ari Aster has curated an “Adventures...
Streaming premieres include restorations of Tsai Ming-liang’s Vive L’amour and Ed Lachman’s Lou Reed / John Cale concert film Songs for Drella; October’s Criterion editions are Samuel Fuller’s Forty Guns, Bill Duke’s Deep Cover, Haxan, and My Own Private Idaho. Meanwhile, Ari Aster has curated an “Adventures...
- 9/26/2022
- by Nick Newman
- The Film Stage
The U.S. lineup at Mubi next month has been unveiled, featuring films by Claude Chabrol, Paulo Rocha, Ulrich Köhler, and more. Notable new releases include Pedro Costa’s striking Locarno winner Vitalina Varela as well as the Julia Fox-led Pvt Chat (check out our extensive interview with director Ben Hozie here.).
As part of their series Thrills, Chills, and Exquisite Horrors, the Martin Scorsese favorite Wake in Fright joins Mubi, along with Fabrice Du Welz’s Alleluia, Nicolas Winding Refn’s underseen Fear X, and Ben Wheatley’s trippy A Field in England.
Check out the lineup below and get 30 days free here.
October 1 | Alléluia | Fabrice Du Welz | Thrills, Chills, and Exquisite Horrors
October 2 | Styx | Wolfgang Fischer
October 3 | The Green Years | Paulo Rocha | Double Bill: Paulo Rocha
October 4 | Change of Life | Paulo Rocha | Double Bill: Paulo Rocha
October 5 | Your Day Is My Night | Lynne Sachs
October 6 | Hey, You!
As part of their series Thrills, Chills, and Exquisite Horrors, the Martin Scorsese favorite Wake in Fright joins Mubi, along with Fabrice Du Welz’s Alleluia, Nicolas Winding Refn’s underseen Fear X, and Ben Wheatley’s trippy A Field in England.
Check out the lineup below and get 30 days free here.
October 1 | Alléluia | Fabrice Du Welz | Thrills, Chills, and Exquisite Horrors
October 2 | Styx | Wolfgang Fischer
October 3 | The Green Years | Paulo Rocha | Double Bill: Paulo Rocha
October 4 | Change of Life | Paulo Rocha | Double Bill: Paulo Rocha
October 5 | Your Day Is My Night | Lynne Sachs
October 6 | Hey, You!
- 9/21/2021
- by Jordan Raup
- The Film Stage
The Harold Greenberg Fund Script Program, a financing program from the entertainment company Astral Media, unveiled twenty-four upcoming Canadian films - chosen out of ninety-nine films - that will get its financial support.
Moreover, the selection of films include Neuromancer, an adaptation of William Gibson's cyberpunk novel directed by Vincenzo Natali (Cube), and Prisoner of Tehran, from Kari Skogland (Fifty Dead Men Walking). If you're an enthusiast of literature, you'll notice the presence of the film Cockroach, which is an adaptation of a novel by award-winning author Rawi Hage.
Now, without further ado, let's have a cursory look at the films that will get funded.
Story Optioning
Bottle Rocket Hearts
Sonia Hosko, Michelle Mama and Stephanie Markowitz
Screenwriter: Zoe Whittall and Linsey Stewart
Cockroach
Films du Boulevard Inc.
Screenwriter: Arto Paragamian
The Program
Acqua Films Inc.
Screenwriter: Hal Niedzviecki
Consecrated Ground
Emotion Pictures Inc.
Screenwriter: Thom Fitzgerald
Prisoner of Tehran
Miracle Pictures Inc.
Moreover, the selection of films include Neuromancer, an adaptation of William Gibson's cyberpunk novel directed by Vincenzo Natali (Cube), and Prisoner of Tehran, from Kari Skogland (Fifty Dead Men Walking). If you're an enthusiast of literature, you'll notice the presence of the film Cockroach, which is an adaptation of a novel by award-winning author Rawi Hage.
Now, without further ado, let's have a cursory look at the films that will get funded.
Story Optioning
Bottle Rocket Hearts
Sonia Hosko, Michelle Mama and Stephanie Markowitz
Screenwriter: Zoe Whittall and Linsey Stewart
Cockroach
Films du Boulevard Inc.
Screenwriter: Arto Paragamian
The Program
Acqua Films Inc.
Screenwriter: Hal Niedzviecki
Consecrated Ground
Emotion Pictures Inc.
Screenwriter: Thom Fitzgerald
Prisoner of Tehran
Miracle Pictures Inc.
- 5/6/2010
- by anhkhoido@hotmail.com (Anh Khoi Do)
- The Cultural Post
An intriguing but failed attempt at episodic filmmaking, "Cosmos" takes six separate stories from six different directors and attempts to interweave them, the only common thread being the character of Cosmos, a Greek taxi driver who appears throughout.
Unfortunately, most of the episodes fail to resonate, and the most striking thing about this Canadian effort, showcased at the New Directors/New Films festival, is the gorgeous black-and-white cinematography by Andre Turpin, who also directed the best episode.
Shot in and around Montreal, the film's stories have a fragmented, wispy quality that makes them almost instantly forgettable. The most entertaining episode, Turpin's "Jules and Fanny", concerns the reunion of two former lovers after many years. Fanny (Marie-France Lambert) is now a successful lawyer, and Jules (Alexis Martin) is the translator for a deaf woman who figures prominently in one of her cases. But the amusing story line mainly revolves around whether Jules will get to take a peek at Fanny's new, surgically augmented breasts.
That gives you an idea of the film's weightiness. Denis Villenueve's "The Technetium" concerns a filmmaker's freak-out during a television talk show appearance. Jennifer Alleyn's "Aurore and Crepuscule" depicts the platonic romantic encounter between an older man and a beautiful young woman. Manon Briand's "Boost" presents Cosmos' efforts to help a young girl who experiences car trouble while trying to reach a friend who may be HIV-positive. And Marie-Julie Dallaire's "The Individual" is a would-be suspenser about a seemingly innocuous young man who spreads terror.
Cosmos (Igor Ovadis), the engaging Greek taxi driver, shows up to little effect in each of these vignettes and even gets one of his own, in which his taxicab is stolen and a slapstick chase ensues.
Although it contains some effective performances and certainly looks good, "Cosmos" comes across as both underwhelming and pretentious, a fairly deadly combination. Considering that it enlists the talents of six different filmmakers, the end result demonstrates a surprisingly low ratio of quality.
COSMOS
Max Films
Director-screenwriters: Denis Villenueve,
Jennifer Alleyn, Arto Paragamian, Manon Briand, Andre Turpin, Marie-Julie Dallaire
Screenwriter: Sebastien Joannette
Producer: Roger Frappier
Director of photography: Andre Turpin
Editor: Richard Comeau
Music: Michel A. Smith
Color/stereo
Cast:
Cosmos: Igor Ovadis
Morille: David La Haye
Nadja: Audrey Benoit
Aurore: Sarah-Jeanne Salvy
Crepuscule: Gabriel Gascon
Janvier: Marc Jeanty
Yannie: Marie-Helene Montpetit
Fanny: Marie-France Lambert
Jules: Alexis Martin
Stranger: Sebastien Joannette
Running time -- 100 minutes
No MPAA rating...
Unfortunately, most of the episodes fail to resonate, and the most striking thing about this Canadian effort, showcased at the New Directors/New Films festival, is the gorgeous black-and-white cinematography by Andre Turpin, who also directed the best episode.
Shot in and around Montreal, the film's stories have a fragmented, wispy quality that makes them almost instantly forgettable. The most entertaining episode, Turpin's "Jules and Fanny", concerns the reunion of two former lovers after many years. Fanny (Marie-France Lambert) is now a successful lawyer, and Jules (Alexis Martin) is the translator for a deaf woman who figures prominently in one of her cases. But the amusing story line mainly revolves around whether Jules will get to take a peek at Fanny's new, surgically augmented breasts.
That gives you an idea of the film's weightiness. Denis Villenueve's "The Technetium" concerns a filmmaker's freak-out during a television talk show appearance. Jennifer Alleyn's "Aurore and Crepuscule" depicts the platonic romantic encounter between an older man and a beautiful young woman. Manon Briand's "Boost" presents Cosmos' efforts to help a young girl who experiences car trouble while trying to reach a friend who may be HIV-positive. And Marie-Julie Dallaire's "The Individual" is a would-be suspenser about a seemingly innocuous young man who spreads terror.
Cosmos (Igor Ovadis), the engaging Greek taxi driver, shows up to little effect in each of these vignettes and even gets one of his own, in which his taxicab is stolen and a slapstick chase ensues.
Although it contains some effective performances and certainly looks good, "Cosmos" comes across as both underwhelming and pretentious, a fairly deadly combination. Considering that it enlists the talents of six different filmmakers, the end result demonstrates a surprisingly low ratio of quality.
COSMOS
Max Films
Director-screenwriters: Denis Villenueve,
Jennifer Alleyn, Arto Paragamian, Manon Briand, Andre Turpin, Marie-Julie Dallaire
Screenwriter: Sebastien Joannette
Producer: Roger Frappier
Director of photography: Andre Turpin
Editor: Richard Comeau
Music: Michel A. Smith
Color/stereo
Cast:
Cosmos: Igor Ovadis
Morille: David La Haye
Nadja: Audrey Benoit
Aurore: Sarah-Jeanne Salvy
Crepuscule: Gabriel Gascon
Janvier: Marc Jeanty
Yannie: Marie-Helene Montpetit
Fanny: Marie-France Lambert
Jules: Alexis Martin
Stranger: Sebastien Joannette
Running time -- 100 minutes
No MPAA rating...
- 4/13/1998
- The Hollywood Reporter - Movie News
NEW YORK -- The Canadian comedy ''Because Why'' charts the adventures of the misbegotten Alex Michael Riley), who returns home to Montreal after five years to look up his girlfriend, only to find a pile of rubble where her house had been.
He finds her by accident, and discovers that she is married, has a child and is pregnant. This stirs familial feelings within him, and he takes up with Alya (Martine Rochon), the ex-girlfriend of his best friend. This doesn't work out, and he is again homeless. Finding work as a bicycle messenger, his travels around town lead him to an apartment building, where he moves in and becomes involved with his next-door neighbor Anne (Heather Mathieson), a single mother with two difficult children.
The building is filled with eccentric characters, and Alex soon finds that he has more family than he can handle. Things come to a head when the building suffers an extended blackout, and the residents decide to escape by going on a camping trip. There, things only get worse.
Director-screenwriter Arto Paragamian has made a quirky comedy that never really achieves much momentum, but its understated wit and warm humor are winning, and the hilarious and absolutely deadpan performance by Riley as Alex is just right. There are also some hysterically funny moments involving Alex's propensity to do himself physical damage, including one scene involving smoking on the toilet that hilariously illustrates the dangers of handling a lit cigarette.
''Because Why, '' currently playing the festival circuit, could achieve modest success given the proper handling and sufficient critical support.
BECAUSE WHY
Aska Film Prods., in association with Cinoque Films
Director-screenplay Arto Paragamian
Producers Yuri Yoshimura-Gagnon, Glaude Gagnon, Francois Pouliot
Cinematography Andre Turpin
Editor Christine Denault
Music Nana Vasconcelos
Cast:
Alex Michael Riley
Arto Doru Bandol
Alya Martine Rochon
Anne Heather Mathieson
Albert Victor Knight
Andre Hank Hum
Running time -- 104 minutes
No MPAA rating
(c) The Hollywood Reporter...
He finds her by accident, and discovers that she is married, has a child and is pregnant. This stirs familial feelings within him, and he takes up with Alya (Martine Rochon), the ex-girlfriend of his best friend. This doesn't work out, and he is again homeless. Finding work as a bicycle messenger, his travels around town lead him to an apartment building, where he moves in and becomes involved with his next-door neighbor Anne (Heather Mathieson), a single mother with two difficult children.
The building is filled with eccentric characters, and Alex soon finds that he has more family than he can handle. Things come to a head when the building suffers an extended blackout, and the residents decide to escape by going on a camping trip. There, things only get worse.
Director-screenwriter Arto Paragamian has made a quirky comedy that never really achieves much momentum, but its understated wit and warm humor are winning, and the hilarious and absolutely deadpan performance by Riley as Alex is just right. There are also some hysterically funny moments involving Alex's propensity to do himself physical damage, including one scene involving smoking on the toilet that hilariously illustrates the dangers of handling a lit cigarette.
''Because Why, '' currently playing the festival circuit, could achieve modest success given the proper handling and sufficient critical support.
BECAUSE WHY
Aska Film Prods., in association with Cinoque Films
Director-screenplay Arto Paragamian
Producers Yuri Yoshimura-Gagnon, Glaude Gagnon, Francois Pouliot
Cinematography Andre Turpin
Editor Christine Denault
Music Nana Vasconcelos
Cast:
Alex Michael Riley
Arto Doru Bandol
Alya Martine Rochon
Anne Heather Mathieson
Albert Victor Knight
Andre Hank Hum
Running time -- 104 minutes
No MPAA rating
(c) The Hollywood Reporter...
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